Robert Mitchell 3io - The Greater Good

Robert Post AwardsNot only has this project won rave reviews from major press and critics, The Greater Good also picked up Radio 1's Giles Pettersons Best Jazz Album Of The Year Award. The picture shows Robert giving an interview post awards ceremony

The following are some of the highlights of the reviews the album has gained.

John Fordham - The Guardian

Robert AwardThis has to be British pianist Robert Mitchell's best album so far, a bold gamble by the UK jazz organisation Jazz Services on the likelihood of the ascetic Mitchell - frequently torn between contemporary-classical jazz and experimental nu-funk - coming out of his shell. He performs here with a sympathetic acoustic trio, including Tom Mason on bass and Richard Spaven providing a discreet percussion whisper - and, at times, a climactic alternative voice. Mitchell's phrasing is unusual: he improvises in unexpectedly juxtaposed motifs rather than long postbop lines. Nonetheless, he has a jazzier feel here than usual, with bluesy elided notes and bursts of vibrant swing. In its imaginative development of hooky material, The Greater Good hints at creative and typically circuitous listening to the Bad Plus, EST, and even a little Brad Mehldau. Wayne Shorter's Dance Cadaverous is playful, building through fast runs up to big chords and a swell of taut percussion. Ochre is a reflective piece that hints at a bashful, semi-hidden melody, and Massive Attack's Teardrop has Mason covering the theme against Mitchell's treble tinkles, the high, bowed bass eerily suggesting a wind instrument.

Seb Pipe - Seb Pipes Life Experience - Shoot For The Stars

Here are some recent reviews and quotes for Seb's superb album

“The talented young altoist Pipe has the kind of self-assured confidence of an emerging star, but the good sense to simply play how he wants to play. While the harmonies are angular and the rhythms fractured, Pipe’s flawless technique and witty ideas make him one to watch.” - Jazzwise Magazine

"I'm impressed..this is good’s deep" - BBC Radio 3 Jazz Line-Up

"distinctive, highly original quartet music, addressed with musicianly verve and commitment by the agile Pipe and his energetically responsive band...a great calling card for a fine, vigorously interactive unit." - Chris Parker (The Vortex Jazz Club, London)

"It's a group we'll likely be hearing from in 2008." - John Fordham (The Guardian Newspaper)

“Seb is pushing the boundaries and experimenting with some very innovative concepts…it is individuals like him who move the art form forward.” - Jean Toussaint

“Yet more evidence, were it needed, of the extraordinary strength in depth of the current UK jazz scene.” – Chris Parker (Vortex Jazz Club)

Geof Eals - Master Of The Game

The following are a selection of quotes from some of the reviews received for this album

"Reninvention is in the air these days and pianist Geoff Eales has caught the bug. His "Master of the Game" (Edition) casts off any emulation of others as he aims for a personal (and successful) rebirth. All eight pieces are his, magisterial bassist Chris Laurence and drummer Martin France the expert midwives" (Jazz UK)

"Eales, truly the master of the game, has never sounded more vigorous or lucidly lyrical" (Manchester Evening News)

"Eales brings a lot of life and experience to a hook-filled piano trio album which has its fair share of drive and quiet swing-funk" (The Jazz Breakfast)

"The overriding sense on Master of the Game is of a famously eclectic pianist who's become a master of his influences and begun to speak in a voice that is distinctively and unmistakably his own" (Jazzwise)



Focusrite On TourIn August Focusrite UK published an article based on the live use of their Liquid Pre convolution chanel strip for shows around the world which Dave has been doing with singer Leona Lewis.

CLICK on the article to read the full story.

Audio Media Interview

Top Pro Magazine Audio Media ran a featur on the studio in June. Focusing on our diverse range of services writer Paul Mac covered a wide range of issues that have lead to an excellent article on our facility.

The article takes a look at Daves varied carrer in both the Live and Studio sectors revealing some of his thoughts and the way Koolworld functions

To read the article in full please us this LINK to digital online version. Click on the KOOLWORLD name on the from page for the article.

Alex Hutton Cover

Alex Hutton Trio, Songs from the Seven Hills(33Jazz) 4 Stars

John Fordham The Guardian, Friday July 18 2008

Alex Hutton is a British pianist who once received the rare accolade of a generous tribute from the late Ronnie Scott - but since Scott died in 1996 and this is only Hutton's second album, it's evident that his career didn't boom. But Hutton went to study in New York in 1994, toured with the soul/jazz band Boy On a Dolphin, and then kept his head down in the UK as a sideman for anybody and everybody, including Jim Mullen, Guy Barker and Gilad Atzmon. Like Cross That Bridge, Songs from the Seven Hills has a narrative design rather than just being a string of tunes, and in this case it addresses the pianist's roots in the landscapes of his native Yorkshire (it's subtitled The Sheffield Suite), the punk-folk of the Stranglers, regular piano jazz, and English classical music. Though the leader is sometimes a little over-tempted in his solos by the descending triplet figures of McCoy Tyner, and a country-gospelly roll reminiscent of early Keith Jarrett colours his slow pieces, Hutton does justify Scott's faith in a scattering of improvisations that join an affectingly hooky melodic knack to a rich and freewheeling impressionism as his speculations open out. Hutton often favours the Esbjörn Svensson method of broaching a simple melody and progressively and hypnotically thickening it, and he's aided in this by the alert drumming of Enzo Zirilli and the dynamic bass-playing of expat American Michael Janisch. Janisch is Scott LaFaro-like in his countermelodic exchanges with Hutton on the initially spacey Surprise Corner, and his bowed playing is majestic on the tumbling, bell-pealing Seventh Hill. Hutton gets rhapsodic and Jarrett-like on the finale. It's a set that will stand high among UK jazz achievements at the year's end.

Album: A Wing And A Prayer

Review by John Fordham, The Guardian:

Tina MaySinger Tina May's understated chamber-group settings and soft ballads have not exactly grabbed the jazz public by the lapels. But while A Wing and a Prayer is a contemplative album, it's full of subtle activity. You'd Be So Nice To Come Home To, a duet with Stan Sulzmann, is a standout track, with May's sliding pitching and airy sound dancing around his Cool School-inflected phrasing.

Nikki Iles's piano is full of rich implications, subtle turns and mellow harmonies, and it's beautifully recorded: the deep resonances seem to come up through the floor. Iles slyly boogies alongside May on Who Can I Turn To?, while, on Black Narcissus, the pair are tied so close together that they sound like one instrument. But for fans of the orthodox romantic ballad, meticulously but freshly performed, it's a state-of-the-art exercise.

Review by Dave Gelly, The Observer:

Tina May and Nikki Iles have a rapport that takes a partnership between singer and pianist to a stage far beyond mere voice plus accompaniment. A distinctive atmosphere surrounds everything they do together, a kind of wistfulness, even at the liveliest moments.

They are joined here by saxophonist/flautist Stan Sulzmann, whose gentle but inquisitive playing provides the perfect complement. The absence of a conventional rhythm section throws the exquisite balance and needle-sharp timing of all three into sharp focus. The whole thing is a treat, but the title song, by Tina May and Kenny Wheeler, is quite outstanding.

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